centresight into my artwork is like dismissal on a truly dangerous journey, one that requires the sectionalizationicipants to let go of their security and conceptualize mindset, and must be automatic to experiences doubt and suffering. From the beginning of my exquisite career, I was deeply in love with the Ancient Chinese calligraphy, not because of my affinity as an Asian person, yet because of the essence. In my point of view, the essence is the despatchset that is closer to the truth. Ancient Chinese language is elusive, it can take over multi-meanings and multi-levels of understanding depend on distributively individuals cultivation. reassure the figure at a lower place for example.\n\nFig.1 Ding Shimei. River. 2008 \n\nThe Ancient Chinese character for river, one wriggling line in the put and a few lines on four corners. Can you get out the liking? From this jump off point, I develop an eye for mark makings. I acquire that to make marks is the origin step in deconstructing an motif or concept of a two-dimensional artwork. Historically, I was influenced hard from Rembrandts paintings. I wear downt think he is a virtuoso painter, but I appreciate the attribute of minimal and simple, slap of paints that he puts on the canvas to show up the subtlety of light. Here I am not talk about the chiaroscuro, but the part that is in the darkest area of around of his painting. It seems like cypher, but it is everything! See the figure below.\n\nFig.2. Rembrandt.\n\nWhen carefully watch over Rembrandt painting, I discover that each brushstroke is direct and right to the point, nothing is wasting. Analytically, I adapt the idea of simplify my marks, thus is fitted to conserve brawniness, and at the identical time, using the reserve energy to do more. Which bring up another key artist, turkey cock Freidman, that I found very intriguing and able to divert some... If you want to get a full essay, order it on our website:
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